Home » Visual & Performing Arts » Oil Painting » Transparent Oil Colour Tutorial - Layer Three

Transparent Oil Colour Tutorial - Layer Three

© Susan A. Wenz-Denise

The previous two articles explained in detail, using a still-life example, the process behind the first two layers of a transparent oil colour painting. Click here to read about Layer One, and click here to read about Layer Two. Using the same still-life, the next step of the tutorial begins a more involved approach to the painting. With the first two layers setting the precedent for the composition, layer three becomes more concentrated on using the paint and color to develop the color, depth and form of the piece.

Since this layer will begin to fill out the color throughout the painting, now is the time to expand the palette to encompass all the colors that will be prevalent throughout the piece. For each object, a full range of colors should be anticipated in order to create the illusion of depth and form to the objects. In this case, I have added to my previous palette of cadmium orange, ultramarine blue and titanium white, some metallic colours (iridescent white and silver) and another blue (indigo). SEE FIGURE A. The metallic colours will help bring the monochromatic theme into another level, while the indigo blue will help add a deeper tone for dark shadows while working with the ultramarine blue.

Before applying the paint to the canvas, the colours should be blended with a mixing medium instead of thinned with solvents. This will allow for transparent glazing without diluting the paint. In this layer, I used walnut oil as a medium because of the wonderful fluidity of the oil and the reduced tendency to yellow. Walnut oil also does not tend to have a very glossy finish, which the painting does not need at this point in the process. The amount of medium used should be appropriate for the area to be covered. For a more opaque area in an area of strong color or shadow, less medium should be used in order to maintain the opacity of the paint. For a more translucent effect, and to allow the under painting to show through like in the lampshade in my example, more medium should be used.

A smaller brush that will allow working in small areas, but will also give good coverage for the amount of surface area, is best for this layer. The brush I used is significantly smaller than the round I used in the previous layer; a flat only about ¼ inch wide. No detail or fine-lining will be done at this point, so a brush any smaller would not be appropriate.

FIGURE A

FIGURE B

The copyright of the article Transparent Oil Colour Tutorial - Layer Three in Oil Painting is owned by . Permission to republish Transparent Oil Colour Tutorial - Layer Three in print or online must be granted by the author in writing.